80/81

80/81

ASIN: B000025Z02

Editorial Reviews
Amazon.com essential recording
Guitarist Pat Metheny gets to play with the big boys on this spirited double album. Having made a string of well-received albums with his young band, featuring keyboardist Lyle Mays, Metheny (a former Gary Burton sideman) had graduated to the front rank of youthful jazz and fusion guitarists. He's a warm player with a harmonically sophisticated approach to soloing, and his breezy compositions made him easily approachable for casual listeners but belied the complexity of much of the music. 80/81 is Metheny's musical bar mitzvah: a chance to step up and be counted among the men of the congregation. Instead of his usual band of contemporaries, Metheny opts to work out with four of jazz's most respected graybeards: bassist Charlie Haden, drummer Jack DeJohnette, and saxophonists Dewey Redman and Mike Brecker. That both Haden and Redman are long associated with Ornette Coleman is represented by a cover of Coleman's "Turnaround," a surprising move that augured Metheny's own future collaboration with the alto legend (on Song X). Still, in the final analysis, Metheny is the leader and the band plays his music. --Fred Goodman

Tracks:

Symphony No. 1 In C Minor, Op. 68: I. Un poco sostenuto - Allegro
Symphony No. 1 In C Minor, Op. 68: II. Adante sostenuto
Symphony No. 1 In C Minor, Op. 68: III. Un poco allegretto e grazioso
Symphony No. 1 In C Minor, Op. 68: IV. Adagio - Piu adante - Allegro non troppo ma con brio

Tracks:

Symphony No. 2 In D Major, Op. 73: I. Allegro non troppo
Symphony No. 2 In D Major, Op. 73: II. Adagio non troppo
Symphony No. 2 In D Major, Op. 73: III. Allegretto grazioso (Quasi andantino) - Presto ma non assai
Symphony No. 2 In D Major, Op. 73: IV. Allegro con Spirito
Tragic Overture, Op. 81

Tracks:

Symphony No. 3 In F Major, Op. 90: I. Allegro con brio - Johannes Brahms
Symphony No. 3 In F Major, Op. 90: II. Andante - Johannes Brahms
Symphony No. 3 In F Major, Op. 90: III. Poco allegretto - Johannes Brahms
Symphony No. 3 In F Major, Op. 90: IV. Allegro - Johannes Brahms
Academic Festival Overture, Op. 80 - Johannes Brahms

Tracks:

Symphony No. 4 In E Minor, Op. 98: I. Allegro non troppo
Symphony No. 4 In E Minor, Op. 98: II. Andante moderato
Symphony No. 4 In E Minor, Op. 98: III. Allegro giocoso
Symphony No. 4 In E Minor, Op. 98: IV. Allegro energico e passionato

Customer Reviews:

Good but not memorable for me.......2007-05-17

I purchased this cycle with eager anticipation but was frankly disappointed when I opened up the set and popped it in my stereo. I love the CSO/Solti sound (esp the brass section) as much as anybody but I am disappointed with the energy, balance, and precision of entrances and note lengths. If you want a great set, buy the HSO/Eschenbach!

Brahms symphonies.......2006-11-07

I'll make this simple. If your interested in a great set of the four Brahms symphonies pick this up immediately. Great sound(late analogue warmth), terrific performances(Solti and Chicago are sturdy as always), and an extremely low price.

This set has several distinct advantages over some of the others out there. For starters each symphony occupies its own cd. Sounds simple enough but I'm quickly tiring of sets that split up symphonies under 80 minutes long just to pack each cd to the brink. Nothing's worse than having a complete symphony and half of another on one cd and the other half of the second symphony on disc number 2. No sense switching discs to listen to one work unless that work is over 80 mintues long(ie- Mahler). I'm also getting sick of sets that couple insequential symphonies together to fill up discs(ie- symphonies number 1 and 4 on one disc). I like to listen in sequential order.

This set allows that. One symphony per disc. Discs two and three each have an overture to fill up some time and that's fine since both are after the symphony. How about Abbado and others putting these overtures and other 'bonus' works _before_ the main attraction? What's that about?

I mentioned it early but the price issue is also huge. Sure, you could buy Abbado's Berlin set which is great but be ready to shell out over $120(!) on Amazon. You'll get a couple of additional short works with that set but come on. Is it worth another $100 or so? Your call but I'd say no way.
Pick this up for around $20 and be assured that your getting quality Brahms at a great price.

sloppy.......2006-02-28

It's sloppy. Interpretation not well thought through. Solti is a well known name, but I wasn't impressed. It sounds uninspired. Check out a different set of the Brahms' symphonies.

One of Solti's better recordings in Chicago.......2005-10-14

This Brahms Symphonies set with Sir Georg Solti/Chicago Symphony is one of Solti's better recordings in Chicago. Recorded in 1979, just before the Digital age and technology took over, these are beautiful, smooth and creamy recordings with rich bass and nice mid range. Solti is intense but never driven, and he knows just how much intensity to put into Brahms without over-driving him and making the music become melodramatic or vulgar. The sound London's engineers got in these recordings is better than for the Solti/Chicago Beethoven Symphonies recorded earlier that decade, 1972-74.

The Chicago Symphony under Solti was "HOT" in recording sales during the 1970s. I was in college from 1977-81, and all the brass and woodwind players raved about Chicago's recordings of Strauss, Mahler, and other composers which were currently being released. I especially recall a flute player who was estatic because she received three Solti/Chicago LPs for Christmas gifts one year. The brass and woodwinds are often emphasized in many Solti/Chicago recordings, with the strings less prominent than some orchestras; but here the balance is very equal where needed, and the brass do yeoman service in the passages most needed, such as the running figures at the end of Symphony 2:IV.

Solti does take alot of repeats, especially in Symphony 2:I, which makes this movement several minutes longer than most recordings. And he isn't afraid to take his time - tempos aren't too fast, and never feel driven: not always the case in a Solti recording. I of Symphony 1 and Symphony 3 also have repeats, thus making these movements longer than in recordings of Bruno Walter or George Szell.

The companion works, Academic Festival Overture and Tragic Overture are also excellent in every way, recalling Bruno Walter/Columbia Symphony (Sony), who recorded these works in stereo 20 years before Solti/Chicago.

Very good.......2005-03-18

This is the Brahms Symphonies set to get. Every performance is great, and the sound is pretty high quality. I do not notice any problems with the acoustics. Highly recommended.

Average customer rating:

great series

The Story Of Brahms

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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The Story of Tchaikovsky
Story Of Chopin In Words And Music
The Story of Schubert
The Story Of Handel
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ASIN: B000001KDB
Release Date: 1995-04-16

Tracks:

Symphony No. 3 In F Major, Op. 90: Allegro con brio
Piano Concerto No. 2 In B-Flat Major, Op. 83: Allegro appassionato
Quintet in E-flat Major, Op. 83: Rondo
Symphony No. 2 In D Major, Op. 73: Adagio non troppo
Serenade, Op. 106: No. 1
Violin Concerto in D Major. Op. 77: Allegro giocoso, ma non troppo vivace
Symphony No. 2 In D Major, Op. 73: Allegro con spirito
Capriccio in B Minor, Op. 76: No. 2
Hungarian Dance No. 6 in D-flat Major
Symphony No. 1 In C Minor, Op. 68: Andante sostenuto
Piano Concerto No. 1 In D Minor, Op. 15: Maestoso
Lullaby, Op. 49: No. 4
Hungarian Dance No. 1 in G Minor
Variations On A Theme By Paganini, Op. 35: Book II
Rinaldo, Op. 50
Waltz in A-flat Major, Op. 39: No. 15
Love Song Waltzes, Op. 52: No. 1
Hungarian Dance No. 5 in F-sharp Major
Variations on a Theme by Haydn: Op. 56a
Symphony No. 1 In C Minor, Op. 68: Excerpts
Symphony No. 2 In D Major, Op. 73: Allegro non troppo
Violin Concerto In D Major, Op. 77: Op. 77
Academic Festival Overture: Op. 80
Piano Concerto No. 2 in B-flat Major: Allegro non troppo
Symphony No. 3 In F Major, Op. 90: Allegro
Clarinet Quintet In B Minor, Op. 115: Allegro
Tragic Overture: Op. 81
Academic Festival Overture: Op. 80
9 Hungarian Dances: No. 1 in G Minor
9 Hungarian Dances: No. 2 in F Major
9 Hungarian Dances: No. 10 in E Major
9 Hungarian Dances: No. 5 in F-sharp Major
9 Hungarian Dances: No. 6 in D-flat Major
9 Hungarian Dances: No. 7 in A Major
9 Hungarian Dances: No. 17 in F-sharp Minor
9 Hungarian Dances: No. 19 in B Minor
9 Hungarian Dances: No. 21 in E Minor

Customer Reviews:

great series.......2007-01-10

This CD along with the others in the series is very good. So far we have collected about ten different ones. They are thorough and interesting. I homeschool and it has been a great additon to our teaching materials and tools. The narrarated history format interspersed with the composer's music is key to keeping the interest of the children. A must-have for introducing classical music with historical background to your kids and at a great price on Amazon!

Dowland - The Collected Works / The Consort of Musicke, Rooley

Average customer rating:

A musical treasure-box
a beautiful journey into melancholy

Dowland - The Collected Works / The Consort of Musicke, Rooley
John Dowland , Anthony Rooley , Emma Kirkby , Christopher Wilson , The Consort of Musicke , Colin Tilney , Anthony Bailes , Jakob Lindberg , Nigel North , Glenda Simpson , Peter Holman , and John Donne
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Dowland: Complete Lute Works, Vol.1-5
William Byrd: Consort Songs
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Britten Conducts Britten
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ASIN: B000004CYV
Release Date: 2007-03-13

Tracks:

First Booke Of Songes: I. Unquiet Thoughts
First Booke Of Songes: II. Who Ever Thinks Or Hopes Of Love
First Booke Of Songes: III. My Thoughts Are Wing'd With Hopes
First Booke Of Songes: IV. If My Complaints Could Passions Move
First Booke Of Songes: V. Can She Excuse My Wrongs
First Booke Of Songes: VI. Now, O Now, I Needs Must Part
First Booke Of Songes: VII. Dear, If You Change
First Booke Of Songes: VIII. Burst Fourth My Tears
First Booke Of Songes: IX. Go Crystal Tears
First Booke Of Songes: X. Think'st Thou Then By Thy Feigning
First Booke Of Songes: XI. Come Away, Come Sweet Love
First Booke Of Songes: XII. Rest Awhile, You Cruel Cares
First Booke Of Songes: XIII. Sleep, Wayward Thoughts
First Booke Of Songes: XIV. All Ye, Whom Love Or Fortune Hath Betray'd
First Booke Of Songes: XV. Wilt Thou Unkind Thus Reave Me
First Booke Of Songes: XVI. Would My Conceit
First Booke Of Songes: XVII. Come Again: Sweet Love Doth Now Invite
First Booke Of Songes: XVIII. His Golden Locks
First Booke Of Songes: XIX. Awake, Sweet Love
First Booke Of Songes: XX. Come, Heavy Sleep
First Booke Of Songes: XXI. Away With These Self-Loving Lads

Tracks:

Second Booke Of Songs: I. I Saw My Lady Weep
Second Booke Of Songs: II. Flow My Tears
Second Booke Of Songs: III. Sorrow, Stay
Second Booke Of Songs: IV. Die Not Before Thy Day
Second Booke Of Songs: V. Mourn, Mourn, Day Is With Darkness Fled
Second Booke Of Songs: VI. Time's Eldest Son
Second Booke Of Songs: VII. Then Sit Thee Down
Second Booke Of Songs: VIII. When Others Sing Venite
Second Booke Of Songs: IX. Praise Blindness Eyes
Second Booke Of Songs: X. O Sweet Woods
Second Booke Of Songs: XI. If Floods Of Tears
Second Booke Of Songs: XII. Fine Knacks For Ladies
Second Booke Of Songs: XIII. Now Cease My Wand'ring Eyes
Second Booke Of Songs: XIV. Come Ye Heavy States Of Night
Second Booke Of Songs: XV. White As Lilies Was Her Face
Second Booke Of Songs: XVI. Woeful Heart
Second Booke Of Songs: XVII. A Shepherd In A Shade
Second Booke Of Songs: XVIII. Faction That Ever Dwells
Second Booke Of Songs: XIX. Shall I Sue
Second Booke Of Songs: XX. Toss Not My Soul
Second Booke Of Songs: XXI. Clear Or Cloudy
Second Booke Of Songs: XXII. Humour Say What Mak'st Thou Here

Tracks:

Third Booke Of Songs 1603: I. Farewell, Too Fair
Third Booke Of Songs 1603: II. Time Stands Still
Third Booke Of Songs 1603: III. Behold A Wonder Here
Third Booke Of Songs 1603: IV. Daphne Was Not So Chaste
Third Booke Of Songs 1603: V. Me, Me, And None But Me
Third Booke Of Songs 1603: VI. When Phoebus First Did Daphne Love
Third Booke Of Songs 1603: VII. Say, Love, If Ever Thou Didst Find
Third Booke Of Songs 1603: VIII. Flow Not So Fast, Ye Fountains
Third Booke Of Songs 1603: IX. What If I Never Speed?
Third Booke Of Songs 1603: X. Love Stood Amazed
Third Booke Of Songs 1603: XI. Lend Your Ears To My Sorrow
Third Booke Of Songs 1603: XII. By A Fountain Where I Lay
Third Booke Of Songs 1603: XIII. O What Hath Overwrought
Third Booke Of Songs 1603: XIV. Farewell, Unkind
Third Booke Of Songs 1603: XV. Weep You No More, Sad Fountains
Third Booke Of Songs 1603: XVI. Fie On This Feigning!
Third Booke Of Songs 1603: XVII. I Must Complain
Third Booke Of Songs 1603: XVIII. It Was A Time When Silly Bees
Third Booke Of Songs 1603: XIX. The Lowest Trees Have Tops
Third Booke Of Songs 1603: XX. What Poor Astronomers Are They
Third Booke Of Songs 1603: XXI. Come When I Call

Tracks:

A Pilgrimes Solace: I. Disdain Me Still
A Pilgrimes Solace: II. Sweet Stay Awhile
A Pilgrimes Solace: III. To Ask For All Thy Love
A Pilgrimes Solace: IV. Love, Those Beams That Breed
A Pilgrimes Solace: V. Shall I Strive Wih Words To Move?
A Pilgrimes Solace: VI. Were Every Thought An Eye
A Pilgrimes Solace: VII. Stay, Time, Awhile Thy Flying
A Pilgrimes Solace: VIII. Tell Me, True Love
A Pilgrimes Solace: IX. Go Nightly Cares
A Pilgrimes Solace: X. From Silent Night
A Pilgrimes Solace: XI. Lasso vita mia
A Pilgrimes Solace: XII. In This Trembling Shadow Cast
A Pilgrimes Solace: XIII. If That A Sinner's Sights
A Pilgrimes Solace: XIV. Thou Mighty God
A Pilgrimes Solace: XV. When David's Life
A Pilgrimes Solace: XVI. When The Poor Cripple

Tracks:

A Pilgrimes Solace: XVII. Where Sin Sore Wounding
A Pilgrimes Solace: XVIII. My Heart And Tongue Were Twins
A Pilgrimes Solace: XIX. Up Merry Mates
A Pilgrimes Solace: XX. Welcome Black Night
A Pilgrimes Solace: XXI. Cease, Cease These False Sports
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Lachrimae Pavane
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Can Shee
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Paduana
Keyboard Transcriptions Of Dowland's Music By Other Musicians: The Frogge
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Frog's Galliard
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Pavana And Galiarda
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Paduana Lachrymae
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Can She Excuse
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Pavion Solus cum sola
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Dowland's Almayne
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Piper's Paven And Galliard
Keyboard Transcriptions Of Dowland's Music By Other Musicians: Pavan Lachrymae

Tracks:

Mr. Henry Noell Lamentations: I. The Lamentation Of A Sinner
Mr. Henry Noell Lamentations: II. Domine ne in furore
Mr. Henry Noell Lamentations: III. Miserere mei Deus
Mr. Henry Noell Lamentations: IV. The Humble Suit Of A Sinner
Mr. Henry Noell Lamentations: V. The Humble Complaint Of A Sinner
Mr. Henry Noell Lamentations: VI. De profundis
Mr. Henry Noell Lamentations: VII. Domine exaudi
Lachrimae: Lachrimae Antiquae
Lachrimae: Lachrimae Antiquae Novae
Lachrimae: Lachrimae Gementes
Lachrimae: Lachrimae Tristes
Lachrimae: Lachrimae Coactae
Lachrimae: Lachrimae Amantis
Lachrimae: Lachrimae Verae
Lachrimae: Mr. John Langton's Pavan
Lachrimae: Mr. Nicholas Gryffith His Galiard
Lachrimae: Sir John Souch His Galiard
Lachrimae: Semper Dowland Semper Dolens
Lachrimae: Mr. Giles Hobies Galiard
Lachrimae: The King Of Denmark's Galiard
Lachrimae: Sir Henry Umpton's Funerall
Lachrimae: Mr. Henry Noell His Galiard
Lachrimae: The Earl Of Essex Galiard
Lachrimae: Mr. Bucton His Galiard
Lachrimae: Mr. George Whitehead His Almand
Lachrimae: Captain Digorie Piper His Galiard
Lachrimae: Mr. Thomas Collier His Galiard
Lachrimae: Mrs. Nichols Almand

Tracks:

Sacred Songs: Sorrow, Come!
Sacred Songs: I Shame At Mine Unworthiness
Sacred Songs: An Heart That's Broken And Contrite
Psalms: Psalm 100: All People That On Earth Do Dwell
Psalms: Psalm 38: Put Me Not To Rebuke O Lord
Psalms: Psalm 130: Lord To Thee I Make My Moan
Psalms: Psalm 104: My Soul Praise The Lord
Psalms: Psalm 100: All People That On Earth Do Dwell
Psalms: Psalm 134: Behold And Have Regard
A Prayer For The Queen's Most Excellent Majesty
Instrumental Music: Solus cum sola pavan
Instrumental Music: Lachrimae
Instrumental Music: Galliard
Instrumental Music: Pipers Pavan
Instrumental Music: Lachrimae
Instrumental Music: Lady Rich Galliard
Instrumental Music: Earl Of Essex Galliard
Instrumental Music: If My Complaints
Instrumental Music: Lachrimae Doolande
Instrumental Music: Lord Willoughbie's Welcome Home
Instrumental Music: My Lord Chamberlaine His Galliard
Instrumental Music: Comagain
Instrumental Music: Pavan Lachrymae
Instrumental Music: Sorrow Stay

Tracks:

Lute Music: Preludium
Lute Music: Lachrimae
Lute Music: Can She Excuse
Lute Music: Dr. Case's Pavan
Lute Music: Melancholy Galliard
Lute Music: Sir John Smith, His Almain
Lute Music: Fantasia
Lute Music: A Dream
Lute Music: Almain
Lute Music: The Queen's Galliard
Lute Music: Coranto
Lute Music: Resolution
Lute Music: Mrs. Vaux Galliard
Lute Music: Almain
Lute Music: Mr. Dowland's MIdnight
Lute Music: Fantasia
Lute Music: Loth To Depart
Lute Music: The Most Sacred Queen Elizabeth, Her Galliard
Lute Music: The Earl Of Essex, His Galliard
Lute Music: Pavan
Lute Music: John Dowland's Galliard
Lute Music: Aloe
Lute Music: The Lady Clifton's Spirit
Lute Music: What If A Day
Lute Music: Mr. Giles Hobie's Galliard
Lute Music: Come Away (Song arrangement)
Lute Music: Galliard
Lute Music: Fancy (Fantasia)

Tracks:

Lute Music: Lachrimae (Basic Version)
Lute Music: Galliard To Lachrimae
Lute Music: [Jig]
Lute Music: Galliard On 'Wasingham'
Lute Music: Complaint (Ballad Setting)
Lute Music: Mignarda (Galliard)
Lute Music: Semper Dowland Semper Dolens (Pavan)
Lute Music: The Frog Galliard
Lute Music: A Fancy (Fantasia)
Lute Music: Fancy (Fantasia)
Lute Music: Piper's Pavan
Lute Music: Captain Digorie Piper's Galliard
Lute Music: Lady Laiton's Almain
Lute Music: Dowland's Galliard
Lute Music: Dowland's First Galliard
Lute Music: Tarleton's Jig
Lute Music: Walsingham (ballad Setting)
Lute Music: Lord Willoughbie's Welcome Home (Ballad Setting)
Lute Music: Sir Henry Guilforde, His Almain
Lute Music: Pavan (Related To 'Lachrimae')
Lute Music: Mr. Langton's Galliard
Lute Music: Mrs. Clifton's Almain
Lute Music: Galliard
Lute Music: Lady Hunsdon's Puffe (Almain)
Lute Music: Galliard
Lute Music: Go From My Window (Ballad Setting)
Lute Music: Fancy (Fantasia)

Tracks:

Lute Music: Pavana Johan Douland
Lute Music: Mrs. Brigide Fleetwood's Pavan (Solus sine sola)
Lute Music: La mia Barbara
Lute Music: Sir Henry Umpton's Funeral (Pavan)
Lute Music: Lachrimae
Lute Music: Farewell Fancy (Chromatic Fantasia)
Lute Music: Farewell (On The 'In Nomine' Theme)
Lute Music: The King of Denmark's Galliard
Lute Music: Mrs. Vaux's Jig
Lute Music: Mrs. Nichol's Almain
Lute Music: Galliard
Lute Music: Lord Strang's March
Lute Music: Mrs. Winter's Jump
Lute Music: Can She Excuse (Galliard)
Lute Music: The Shoemaker's Wife, A Toy
Lute Music: Mrs. Norrish's Delight
Lute Music: Galliard
Lute Music: Mrs. White's Thing (Almain)
Lute Music: Mrs. White's Nothing
Lute Music: The Frog Galliard
Lute Music: Solus cum sola
Lute Music: The Lord Viscount Lisle, His Galliard
Lute Music: Orlando Sleepeth (Ballad Setting)
Lute Music: Robin (Ballad Setting)
Lute Music: Galliard (On A Galliard By Daniel Bacheler)
Lute Music: Forlorn Hope Fancy (Chromatic Fantasia)

Tracks:

Lute Music: The Lady Russell's Pavan
Lute Music: Fancy (Fantasia)
Lute Music: Sir John Langton's Pavan
Lute Music: Earl Of Derby, His Galliard
Lute Music: A Coy Toy
Lute Music: Fortune My Foe
Lute Music: [Almain]
Lute Music: Mr. Knight's Galliard
Lute Music: Sir John Souch His Galliard
Lute Music: Tarletone's Riserrectione
Lute Music: The Lady Rich, Her Galliard
Consort Music: Lachrimae Pavan
Consort Music: Can She Excuse Galliard
Consort Music: Captain Piper's Pavan And Galliard
Consort Music: The Frog Galliard
Consort Music: Round Battell Galliard
Consort Music: Fortune My Foe
Consort Music: Dowland's First Galliard
Consort Music: Katherine Darcie's Galliard
Consort Music: Tarleton's Jigge
Consort Music: Almain a 2
Consort Music: Mistress Nichols Almain a 2
Fullsack And Hildebrandt: Auserlesener Paduanen und Galliarden: Susanna Fair (Galliard)
Haussmann: Rest von polnischen und andern Tanzen: Mistress Nichols Alman a 5
Opusculum: Mr. John Langton Pavan And Galliard
Opusculum: La mia Barbara Pavan and Galliard
Opusculum: Lachrimae Antiquae Novae Pavan and Galliard

Tracks:

Consort Music: Mistress NIchols Almain
Consort Music: Volta a 4 ('Ioh. Douland')
Consort Music: Were Every Thought an Eye
Consort Music: Lady If You So Spite Me
Consort Music: Pavan a 4
A Musicall Banquet: I. My Heavy Sprite (Anthony Holborne)
A Musicall Banquet: II. Change Thy Mind Since She Doth Change (Richard Martin)
A Musicall Banquet: III. O Eyes, Leave Off Your Weeping (Robert Hales)
A Musicall Banquet: IV. Go, My Flock, Go Get You Hence (Anon.)
A Musicall Banquet: V. O Dear Life, When Shall It Be? (Anon.)
A Musicall Banquet: VI. To Plead My Faith (Daniel Bacheler)
A Musicall Banquet: VII. In A Grove Most Rich Of Shade (Guillaume Tessier)
A Musicall Banquet: VIII. Far From Triumphing Court
A Musicall Banquet: IX. Lady, If You So Spite Me
A Musicall Banquet: X. In Darkness Let Me Dwell
A Musicall Banquet: XI. Si le parler et le silence (Pierre Guedron)
A Musicall Banquet: XII. Ce penser qui sans fin tirannise ma vie (Pierre Guedron)
A Musicall Banquet: XIII. Vous que le Bonheur rappelle (Pierre Guedron)
A Musicall Banquet: XIV. Passava Amor su arco desarmado (Anon. Spanish)
A Musicall Banquet: XV. Sta notte mi sognava (Anon. Italian)
A Musicall Banquet: XVI. Vuestros ojos tienen d'Amor (Anon. Spanish)
A Musicall Banquet: XVII. Se di farmi morire (Domenico Maria Megli)
A Musicall Banquet: XVIII. Dovro dunque morire? (Giulio Caccini)
A Musicall Banquet: XIX. Amarilli mia bella (Giulio Caccini)
A Musicall Banquet: XX. O bella piu (Anon, Italian)

Customer Reviews:

A musical treasure-box.......2006-09-10

Both the music and this actual product are masterpieces. John Dowland's collected works here - covering 12 compact discs - exhibit the depth and power of this composer, a composer who many now regard as suffering from clinical depression. I doubt that the issue of the diagnosis of Dowland's depression can ever be settled, however, it is certainly obvious from his music, so completely on display here, that he was a man with very dark depths and corners in his mind. Dowland's various manifestations and "takes" on his own tune, "Flow my tears"/"Lachrimae" are here. This tune has haunted me ever since I first heard it when I was a child. It seems to sum up Dowland's feelings - at least Dowland seems to have thought so.

The First, Second, Third and Fourth Bookes of Songes, A Musicall Banquet, the keyboard transcriptions, all the lute music, consort music are here and virtually everything else written or supposedly written by John Dowland. Anthony Rooley and The Consort of Musicke perform this music with style and feeling throughout. This 12 CD set is something of a monument to the ensemble - I only wish they'd finished their collection of Monteverdi madrigals, which was equally good (La Venexiana are currently doing a magnificent job of recording all Monteverdi's books of madrigals for the GLOSSA label).

This is an expensive set, however, you will probably never need to buy another John Dowland CD again after buying and listening to this collection.

I bought this CD set on a mild Summer evening of 1998 and listened to it while sitting in my sun room - which a glorious orange sunset in progress, and a glass of wine. It brought back so many memories.

a beautiful journey into melancholy.......2001-06-15

I'm amazed at how many people tend to associate John Dowland's music with a tragic sense of drama. While no doubt this is art highly based on sadness, the "tragic" sense of it is more a legacy from the Romantic period. During the Renaissance, however, sadness was undestood as a very aesthetic way of approaching life. That is also the reason why Shakespeare's tragedies appear more sophisticated than his comedies.

Tracks:

A Piece Without Title - Dowland
Pavana - Dowland
Mr Knights Galliard - Dowland
My lord willobies wellcome home - Dowland
The frogg galliard - Dowland
A Fancy - Dowland
My Ladie Riches galyerd - Dowland
The Lady Laitons Almone - Dowland
A Dream (Lady Leighton's Paven) - Dowland
Galliard - Dowland
Orlando sleepeth - Dowland
What if a Day - Dowland
Mrs Winters Jumpp - Dowland
Galliard - Dowland
M. Giles Hobies Galiard - Dowland
Dr Cases Pauen - Dowland
Mellancoly Galliard - Dowland
Galliard - Dowland
Mistris Whittes thinge - Dowland
Go from my windowe - Dowland
Almain - Dowland
Mrs Whites Nothing - Dowland
Pavan - Dowland
Galliard - Dowland
Farewell - Dowland

Tracks:

My lady hunnsdons puffe
Solus cum sola
Suzanna Galliard
Sir John Smith his Almain
Sweet Robyne
Dowlands first galliard
Master Pypers Pavyn
Captain Digorie Piper his Galliard
As I wen to Walsingham
Monsieur's Almaine
Mrs Brigide fleetwoods paven alias Solus sine sola
Dowlands Galliard
Farwell (As
Captain Candishe his Galyard
Aloe
Can she excuse
A Coye Joye
Mrs vauxes Gigge
Mrs vaux Galliarde
Sir Henry Guilforde his Almaine
Mignarda
Lachrimae
Sir John Souch his galliard
Fantasia

Tracks:

The most high and mightie Christianus, the fourth King of Denmark, his Galliard
Sir John Langton his Pavin
Mr. Langtons galliard
A Fancy
A Pavan
The most sacred Queene Elizabeth, her Galliard
Mrs. Cliftons Allmaine
The Right Honourable the Lady Cliftons Spirit
tarletones riserrectione
Tarletons Willy
fortune my foe
The Queenes galliard
Wallsingham
A Galliard (on Walsingham)
Dowlands Adew for Master Oliver Cromwell
The Right Honourable Ferdinando Earle of Darby, his Galliard
Lord Strangs March
Mistresse Nichols Almand
forlone Hope fancye
Mr. Dowlands Midnight
Semper Dowland semper dolens

Tracks:

Preludium
A Fancy
Lachrimae
Galliard to Lachrimae
A Fantasia
An Almand
Pavana
The Right Honourable Robert, Earl of Essex, his Galliard
A Galliard (on a galliard by Daniel Bachelar)
My Lord Wilobies Welcom Home
The Shoemakers Wife. A Toy
The Right Hounourable The Lord Viscount Lisle, his Galliard
Coranto
A Galliard
The Lady Russells Paven
Galliard (on Awake sweet love, set by Fr. Cutting)
The Frog Galliard
Come Away
La mia Barbara
Loth to Departe

Tracks:

A Fancy
Pavana Dowlandi Angli (Mylius #2)
Doulands rounde battell galyarde
Pavin
The Erle of Darbies Galiard
Mistris Norrishis Delight
A Jig
The Erle of Essex Galliard
Galliard
Une Jeune Fillette
Gagliarda
Pavana Lachrimae
Squires Galliard
A Fancy
Hasellwoods Galliard
Sir Thomas Monson, his Pavin
Sir Thomas Monson, his Galliard
Almande
Sir Henry Umptons Funerall
Captayne Pipers Galliard
A fantasie

Amazon.com

Dowland did for lute music what Haydn did for the string quartet and Beethoven the piano sonata. The finest lutenist and songwriter of his age--he composed several of the greatest hits of the late 16th and early 17th centuries--the surviving lute works constitute a sort of encyclopedia of the possibilities of the instrument. There are song arrangements, dance pieces, tributes to the composer's friends, even a musical self-portrait. Much of the music is fashionably sad. Lute songs generally deal with the agony of lost love, and Dowland's most popular tune was called Lachrimae (Tears). Paul O'Dette is simply the best lutenist alive. These five discs are available together at a special price, or separately. A reference edition. --David Hurwitz

Customer Reviews:

Outstanding.......2007-03-31

If you are a fan of the music of John Dowland, you must own this CD. The playing is outstanding to say the least.

It's not heavy breathing.......2006-08-22

It's great that O'Dette gives us the complete solo works, of course. I have the common reaction to O'Dette: his technique is flawless, his performance unengaging.

Others have remarked on the "heavy breathing" noticeable on the recordings -- it's not heavy breathing, but the movement of his fingers on the gut strings making that sound.

Technically good, emotionally bland. .......2006-04-11

Considering the extreme paucity of (especially solo) lute recordings currently available worldwide,
but especially in the US, this set becomes an essential "must have" for all lovers of the lute.
Yet it somehow disappoints.
I am sure that Paul O'Dette is brimming over with virtuousity and a technical expertise
that I am hardly one to pass sound judgement upon.
But the recordings have a flatness and monotony;
the songs are rendered with precision, but seem to lack feeling, empathy, or enthusiasm throughout the offering.
It is an impressive compendium, and I'm glad I purchased it.
There are very few lutenists out there producing any music at all, so Mr. O'Dette should certainly be praised
for delivering such a substantial feast to our ears.
It just should have had more flavor.
Where is Konrad Ragossnig when you need him?

Highly recommended.......2005-10-23

I bought Volume 1 of this set a couple of years ago. It has become one of my favorite CDs, so I thought I would enjoy the full set. I have not been disappointed. I find the sound quality excellent, the playing superb. The included booklet has a lot of interesting background material. The music is great as background for a dinner party or intimate conversation, but has depth aplenty for concentrated listening. I often listen to it while working at the computer where I swear it improves concentration and productivity!

A few tunes appear more than once as Dowland reused some work, but the arrangements are sufficiently different to be interesting. It is his complete lute works, after all. Some might criticise the set for sounding too much in the same style. It is the work of one composer, and if you happen to like the style, as I do, this is a pro rather than a con.

Another reviewer mentioned obtrusive breathing on the recording. I had listened to Volume 1 for two years before reading the review and had not noticed this. On listening carefully, there is breathing audible, but I do not find it a problem. Perhaps it depends whether one listens to the music or the background.

just a warning..........2005-10-14

Beautiful music, but... you can hear Paul's heavy breathing throughout. Apparently a lot of other reviewers either don't hear the heavy breathing, or aren't bothered by it, but for me, it's a near deal-breaker. Go ahead and mark my review as unhelpful, but I had to put the warning out there.

Mendelssohn: The Complete String Quartets / Emerson String Quartet

Average customer rating:

First Rate Performances
Fantastic
Beautiful Performances
LIKE WATER FROM A PUBLIC FOUNTAIN

Mendelssohn: The Complete String Quartets / Emerson String Quartet
Felix Mendelssohn , and Emerson String Quartet
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Octets | Chamber Music | Classical | Styles | Music

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ASIN: B0006TN9G2
Release Date: 2005-01-11

Tracks:

I. Adagio - Allegro Vivace
II. Adagio Non Lento
III. Intermezzo: Allegretto Con Moto
IV. Presto
A Tempo Ordinario
I. Adaigo Non Troppo - Allegro Non Tardante
II. Canzonetta: Allegretto
III. Andante Espressivo
IV. Molto Allegro E Vivace

Tracks:

I. Allegro Assai Appassionato
II. Scherzo: Allegro Di Molto
III. Andante
IV. Presto Agitato
I. Allegro Vivace
II. Scherzo: Assai Leggiero Vivace
III. Adagio Non Troppo
IV. Molto Allegro Con Fuoco

Tracks:

I. Molto Allegro Vivace
II. Menuetto: Un Poco Allegretto
III. Andante Espressivo Ma Con Moto
IV. Presto Con Brio
Andante con Moto - Allegro Fugato, Assai Vivace
I. Allegro Vivace Assai
II. Allegro Assai
III. Adagio
IV. Finale: Allegro Molto
Andante Sostenuto
Allegro Leggiero

Tracks:

I. Allegro Moderato, Ma Con Fuoco
II. Andante
III. Scherzo: Allegro Leggierissimo
IV. Presto
I. Allegro Moderato
II. Adagio Non Troppo
III. Minuetto
IV. Fuga

Amazon.com

Trust the Emerson Quartet to do nothing by halves. This 4-CD set presents all of Mendelssohn's quartets, including one written at 14, the five pieces Op. 81, as well as the Octet. This set should disprove the assertion that Mendelssohn, a sensational prodigy, blossomed young and never developed further. The difference in compositional skill and emotional depth between the early and late quartets is unmistakable; the miracle is that he could write the Octet at 16. The quartets are of uneven quality: Op. 44 No. 3 is distinctly inferior to the more-familiar Nos. 1 and 2; of the two Fugues Op. 81, the later one is far better. The quartets Op. 12 and 13 (written in reverse order) pay homage to Beethoven in Mendelssohn's very own romantic voice. Op. 80 is masterful although perhaps less disciplined: written just after his beloved sister Fanny's death and shortly before his own, it is a turbulent, heart-rending outcry of anguish. Some of the most-magical moments occur in the inimitable Scherzi and Intermezzi. The performances are vintage Emerson: impeccable individually and together, beautiful in sound, clear, carefully worked out. Although generally a little cool, they can rise to considerable warmth and passion. Not surprisingly, the best pieces elicit the most involved, exciting playing. As always, the violinists switch parts, but the whole group also alternates old Italian and modern American instruments, for the players have a surprise in store: they give the Octet a new twist by "doubling" on all eight parts through a complicated process of over-dubbing (a documentary video of the recording process is included). Here, using the different instruments is intended to combine the old and the new and to give the voices more-distinct timbres. However, the differences throughout are imperceptible. The idea of playing the Octet with themselves, so to speak, is intriguing, but the result is disappointing. Hearing four rather than eight individual voices is disconcerting, and worse, the balance is completely awry, especially in the corner movements. The busy tremolo accompaniment makes the middle register thick and heavy, the tone gets rough, important lines are obscured, and the Quartet's customary admirable textural transparency is lost. And even a cellist as splendid as David Finckel cannot save the opening of the Fugue from sounding like a growl. This may be a triumph of recording technology, but it adds nothing to the music or the performance. --Edith Eisler

Customer Reviews:

First Rate Performances.......2006-09-18

This is a series of first rate performances by the outstanding Emerson String Quartet. They include all the Mendelssohn quartets, including rarely heard juvenile work, and as a bonus, the very enjoyable Octet. This is a good deal of lovely music. The Mendelssohn quartets, however, are generally excellent as opposed to outstanding chamber music. Well worth owning and listening to but a step below the pinnacles of the chamber literature.

Fantastic.......2006-07-01

I never have cared much for Mendelssohn, nor have I cared much for String Quartets, but after listening to the Emerson String Quartet's Shostakovich cycle and finding that I enjoyed it immensely, I undertook listening to the Mendelssohn cycle.

In the privacy of my living room, on several occasions I stood up and cheered! Absolutely magnificent. Enough said.

Highly recommended.

Beautiful Performances.......2005-09-10

Mendelssohn's string quartets are very appealing, tuneful works that engage the listener completely. Chamber music was an important part of Mendelssohn's output and one does not gain a full picture of his growth as a composer by only being familiar with his orchestral works. This 4-CD set by the Emerson String Quartet brilliantly explores not only the six numbered quartets but includes the shorter Op. 81 works (published after Mendelssohn's death), the student quartet (written when the composer was 14) and the stunning Octet for strings.

Naturally, the early quartets (written in 1827 and 1829 but published in reverse order in 1830) reflect the influence of other composers, most notably Beethoven. The movements of these quartets were linked by thematic ideas. The quartet in A minor uses Mendelssohn's song Frage (Question) as the musical link. The quartet in E-Flat (Op. 12) was composed during Mendelssohn's trip to the British Isles, which also inspired his Scottish Symphony and Hebrides Overture.

When Mendelssohn next turned to the form he was the director of the Gewandhaus and a famous composer. The composition of the three quartets Op. 44 (number 3, 4 and 5) occurred after his marriage to Cecile Jeanrenaud in 1837 and were composed during his two month long honeymoon. These quartets reflect the composer's maturity and accessible style. The sixth quartet was published after Mendelssohn's death and was written following the sudden death of his sister Fanny in May 1847. It follows that the quartet is darker than the others and is agitated and dissonant in tone; the first movement begins with dark tones from the cello then proceeds with a beautiful melody punctuated with tremolos. The scherzo is characterized by an unusual tempo that has a frantic quality to it. The Adagio allows Mendelssohn to fully express his grief and the Finale has the syncopated rhythm of the scherzo.

The five pieces collected as Op. 81 contain what probably are two movements for an unfinished quartet - a Theme and Variations in E major and Scherzo in A minor. It was reported by the composer Ignaz Moschelles that Mendelssohn was at work on a new string quartet before his death and of these two pieces the Theme and Variations is closest to the description of the work. The earliest of Mendelssohn's quartets appears last on the CDs and is a pleasant work written under the influence of Mozart and Haydn.
The Octet receives a marvelous performance with the Emerson playing all of the parts with each member playing different instruments and seated in different positions during the recording sessions.

The performances are impeccable with beautiful and clear sound. I purchased the set anticipating a performance of three of the quartets by the Emerson. As I have listened to the set the warmth and sensitivity of the playing makes this the Mendelssohn quartets to own. I have only become interested in chamber music in recent years and Mendelssohn was a natural choice for me because of his gift of melody. I think this music would appeal to someone getting to know chamber music.

LIKE WATER FROM A PUBLIC FOUNTAIN.......2005-05-12

That was Wagner's dismissive description of the music of Mendelssohn. In the later 19th century there was a critical reaction against both of the great Germans who had dominated English music for a century and a half overall, Handel and Mendelssohn. As is usual with such debunking, much of it was trivial and petulant. However Handel has recovered strongly over the last 50 years and by now is probably almost as familiar as Bach is, whereas Mendelssohn has not. The popular favourites among his compositions have never ceased to be that, but opportunities to hear most of his chamber music and songs are still rare. I am myself in the happy position of having attended two years ago a festival dedicated to those sides of his output, and consequently I know the works on this distinguished set fairly well.

The performers are the Emerson Quartet, and the quality of their work is well known. In every imaginable respect it is superlatively good. Technically these accounts are flawless, and in terms of comprehension of the music and insight into the spirit of the composer I prefer to learn from them rather than to pass otiose comment. There are 7 complete quartets here, plus 5 isolated movements. Being moderately familiar with the music I would advise newcomers that the approach taken throughout is `normal' in the best sense and free from idiosyncrasies - if you are looking for `model' performances of these works this would be where to look. Mendelssohn's tempo markings, unlike those of greater composers such as Beethoven Schubert and Brahms, are almost invariably clear and unambiguous. In the one case where a bit of interpretation is called for, the central two movements of the D major quartet op44/1, I am convinced and delighted by the solution adopted. The Emersons take the minuet slowly and the following `andante con moto' at a very flowing pace, almost like an andante in Handel, so that the minuet seems like the slow movement and the andante like an intermezzo in moderate tempo.

I love Mendelssohn and I love these quartets. However I can't get it out of my mind that Wagner had a bit of a point. Shaw complains of Mendelssohn's `kid-glove gentility' and he is uncomfortably near the bone. Mendelssohn is truly unique, and what he does best he does better than anybody. At the age of 16 or 17 he turned out the octet, the rondo capriccioso for piano and the Midsummer Night's Dream overture, all of them truly astounding. However by age 20 he was only one precocious prodigy among a larger number who had caught up by then and went on to surpass him. There is a definite sense of development as between the quartet he wrote at age 14 (contemporary with the string symphonies, which I commend strongly to those unfamiliar with them) where the unmistakable personal idiom has not yet quite emerged and the op12/13 quartets and then the op44's and later in which it has. However it's development within a narrow range of expression, and his early death means we can never know whether he had it in him to raise his game drastically, as Wagner and Verdi so spectacularly did when older than Mendelssohn lived to be.

The Emersons have also taken it into their heads to record the octet played by themselves only. People with their amount of talent must be tempted to such brilliant but completely dotty schemes at times. There is an enthusiastic contribution to the liner-note by Eugene Drucker, and the disc will run on a pc to show the process of recording. I can confirm that it actually does this, but I have no sound-card nor any wish for one, so all I can attest is the visual aspect, and only a little of that. I must also warn that I had difficulty in getting the exit-button to obey me. As a performance it is really very good, with the finale fully up to speed as I like it, and I would never have known what nonsense they were getting up to. However something goes wrong with the recording, which is very bottom-heavy in the first movement in particular.

Otherwise the recording is excellent. The main liner-note is fine if a little lengthy. When I began to think it didn't really say a lot, that brought me back to the question - how much, really, is there to say?

Average customer rating:

breakdown by cd.
I'm not a music expert

Dvorák: The Masterworks [Box Set]

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

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Mendelssohn: The Masterworks [Box Set]
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ASIN: B00062FLJW
Release Date: 2004-11-30

Customer Reviews:

breakdown by cd........2007-01-14

CD1-7:SYMPHONIES 1-9

CD8:PIANO CONCERTO

CD9:VIOLIN CONCERTO & CELLO CONCERTO

CD10-11:REQUIEM

CD12-13:STABAT MATER

CD14:PIANO TRIOS OP.90 "DUMKY" & 21

CD15:PIANO TRIOS OP.65 & 26

CD16:PIANO QUARTETS

CD17:PIANO QUINTETS

CD18:STRING QUINTETS

CD19-20:MUSIC FOR VIOLIN AND PIANO

C21:SERENADE/HAUSMUSIK

CD22-31:THE COMPLETE STRING QUARTETS

CD32:SLAVONIC DANCES OP.46 & 72

CD33:PIANO DUET SLAVONIC DANCES

CD34:PIANO DUET LEGENDS FROM THE BOHEMIAN FOREST

CD35:PIANO WORKS

CD36-37:RUSALKA

CD38-40:SYMPHONIC POEMS

I'm not a music expert.......2005-08-25

I don't know too much about music. I own over 700 cds, but I don't play music and I don't have much experience with this music. My only point of reference was the ninth symphony, seeing as every other piece in this box set was new to me. It sounds fine, nothing wrong with it as far as I can see.

Now, here's what you'll get in this box set, seeing as Amazon does not give it a description. 40 cds! no joke, you get 40 cds in this box set. It features:
1. Complete symphonies
2. Complete symphonic poems
3. Cello concerto
4. Piano concerto
5. Violin concerto
6. Requiem
7. Stabat Mater
8. Slavonic Dances
9. Complete String quartets
10. Chamber music
11. Piano Works (solo and duet)
12. Rusalka

As far as I can tell, the only things missing are The Spectre's Bride and Jacobin. Seeing as it is 40 cds, i have not had an opportunity to listen to it, however what i have heard i have been quite satisfied with.

Average customer rating:

Brecker and Company Soar
A sea of Greatness marred by islands of mediocrity
do not squander!
Jazz essentials, no ornamentation
Post-Garage Experiment

80/81
Pat Metheny
Manufacturer: Ecm Records
ProductGroup: Music
Binding: Audio CD

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Metheny Mehldau Quartet
Metheny / Mehldau

ASIN: B000025Z02
Release Date: 2000-02-29

Tracks:

Two Folk Songs: 1st / 2nd
80-81
Bat, The
Turnaround

Tracks:

Open
Pretty Scattered
Every Day (I Thank You)
Goin' Ahead

Amazon.com essential recording

Guitarist Pat Metheny gets to play with the big boys on this spirited double album. Having made a string of well-received albums with his young band, featuring keyboardist Lyle Mays, Metheny (a former Gary Burton sideman) had graduated to the front rank of youthful jazz and fusion guitarists. He's a warm player with a harmonically sophisticated approach to soloing, and his breezy compositions made him easily approachable for casual listeners but belied the complexity of much of the music. 80/81 is Metheny's musical bar mitzvah: a chance to step up and be counted among the men of the congregation. Instead of his usual band of contemporaries, Metheny opts to work out with four of jazz's most respected graybeards: bassist Charlie Haden, drummer Jack DeJohnette, and saxophonists Dewey Redman and Mike Brecker. That both Haden and Redman are long associated with Ornette Coleman is represented by a cover of Coleman's "Turnaround," a surprising move that augured Metheny's own future collaboration with the alto legend (on Song X). Still, in the final analysis, Metheny is the leader and the band plays his music. --Fred Goodman

Customer Reviews:

Brecker and Company Soar.......2005-07-28

I remember buying this album after playing a gig, and going to Tower Records to pick out a CD with my earnings. The Pat Metheny Group Album "The Way Up" had just been released and my friends were raving about it. So I went into the record store with the hopes of getting a Pat Metheny record. The only problem was, first I had no idea what he sounded like, and secondly, there were no sax players on his new release, which is not a bad thing, but I was in the mood for some powerful sax playing. So I got this album 80/81 because it had two unique sax players. From there...

I played the first disc and was immediately captivated by the simple yet honest chord stumming of Pat Metheny on the acoustic guitar. It immediately evoked images of corn fields, the midwest, driving down Highway 5 in California, etc. And then Mike Brecker entered with his gorgeous tone to state the melody. I had not even left the parking lot and I was ecstatic. Then comes Mike Brecker's solo...I know many listeners dislike Mike Brecker because of his perfect technique, and his tendency to repeat these phrases. But hey, most musicians do that. It depends on what you listen to by the artist. Many also accuse Mike Brecker of lacking emotion in his technical solos. But his solos on this record should lay all of those claims to rest. This album was recorded early on in his career, and his solo on "Two Folk Songs" ranks among one of my favorite instrumental solos of all time, and it certainly is one of his most creative. He does not opt for lightning fast runs, but instead develops his ten minute solo around the overtones of the tenor sax, soring in the altissimo range. It is almost like a bird flying over the country, swooping down close to the ground when Mike Brecker leaves the overtone range to catch his breath in the lower register, then skyrocketing back up well above the ground. From a technical standpoint, his solo is outrageous, but from the standpoint of emotional conviction - that is where Mike Brecker's solo really shines. His devopment, his emphasis on rhythm, his choice to bypass any sort of "normal" solo in the normal saxophone register, and his tone all contribute to this extremely powerful solo. It is on the wild side if you are new to jazz, but there is a strong sense of rhythm and simplicity, something most contemporary jazz musicians I have found lack. Instead of playing every chord under the sun to "support Mike Brecker and lead him on", Pat Metheny just strums the same three chord pattern with the same rhythm as does Charlie Haden and they just let Mike Brecker fly free - of course with Jack Dejohnette lending constant rhythmic support. A drum solo follows the tenor sax solo, then a bass solo that feeds into a slower tempo than the opening tempo of this lengthy track. Pat Metheny takes over and plays a simple yet poweful solo that shows that he is very well capable of expressing himself just as well as Mike Brecker. No lame jazz licks, just pure creativity. The song just fades out leaving the lasting impression of the environment, landscape, and culture that inspired the composition. A true masterpiece. Following this tour de force are a few staight ahead boppish tracks that are fine, but to me, they are no where near as powerful as the opening twenty minute magnum opus. That is not a bad thing, they just get less playing time because of the opening track. Dewey Redman takes over the sax chair for these tunes. On the second disc, Mike Brecker and Dewey Redman share some solos together - the compositions are upbeat and have a content feeling, something far different than "Two Folk Songs", which has an upbeat, yet mournfull and sad feeling. But the composition "Everyday I Thank You" is another tour de force. This again features Mike Brecker in a truly masterful solo, equal to the opener of the entire album. The tune is gorgeous. It is in essence a rock ballad that goes into a steady beat and time feel after a rubato introduction. The quality of Mike Brecker's solo is matched again by the perfect support of the rhythm section. Pat Metheny comps in a rythmic yet un-encroching way. The album closes with a peaceful Pat Metheny solo guitar composition. A perfect close to a masterful album. Mike Brecker shines, but nevertheless, Pat Metheny plays equally as brilliant as do the rest of the musicians. This album is perfect in my eyes and worth the money for just the three tunes I mentioned, the twenty minute "Two Folk Songs", the thirteen minute "Everyday I Thank You", and the three minute solo guitar tune "Goin' Ahead". A perfect album to listen to when driving for long distances, and a great album that evokes powerful thoughts. Give it a try. I did and I love it.

A sea of Greatness marred by islands of mediocrity.......2003-08-03

This double CD set could almost have been whittled down to a single; there are great songs here, but the presence of mediocre ones detracts from the overall quality immensly.

"Two Folk Songs" is a great track, two songs tied together by a common theme. The saxwork in the first half is stellar, while the sensitive guitar playing in the second counterposes the almost frantic pace of the first half nicely. "80/81" and "Turnaround" would make great Jazz standards; the flowing quality of these great works is rudely interrupted by the watery,predictable smooth jazz of "The Bat." "Open" and "Pretty Scattered are two more great Jazz tracks; "Every Day" is a tolerable jazz-folk hybrid. The set ends on a calm high note, the folksy "Goin Ahead." All in all, this is an excellent release that could have easily stood to loose about twenty minutes of mediocre material.

do not squander!.......2002-11-12

The heading for this review regards your time, your money and Metheny's approach -- only five years into his solo recording career he got right down to business of fulfilling his dream to both pay tribute to and play with Ornette Coleman. The former is done both on this cd and on (the 1984 recording) Rejoicing, the latter on (the 1986 recording) Song X. But, possibly, the most moving music of the three is achieved here. Here he has compiled former Ornette band mates Dewey Redman (tnr sx) and Charlie Haden (bs) with sympathetic musicians Jack DeJohnette (drms) and Michael Brecker(tnr sx, too). The results are impressive. From the Coleman authored "Turnaround" and the "open" jazz of "Open," to the tightly arranged and simply stunning "Every Day" (my friend calls it an "orgasmic" song as the tension builds and builds to its release) and the solo acoustic of "Goin' Ahead" which is better than anything on New Chautauqua (I'm not knocking that cd, but this song is superior in all respects to the music thereon). Pat Meth did not squander this opportunity and, by clicking "buy it," you won't squander yours either.

Jazz essentials, no ornamentation.......2002-01-22

This is Pat in a truly jazz setting. There are no overdubs, no thick productions (ala later Pat Metheny Group recordings), and no hooks--and no keyboards. (Lyle Mays, not a jazz improvisor, could not have survived this date.) Two of the players--Dewey Redman and Charlie Haden--were bandmates with Ornette Coleman. They know how to get "outside" while remaining in sync with the group. Pat's playing (circa 1981 is satisfying), but not as rich and energized as it can be today (such as on "Pat Metheny Trio, 99-100"). Of course, a less mature Pat is better than 90% of the "mature" jazz guitarists out there. Jack D.'s drumming is always creative and apt.

Post-Garage Experiment.......2001-06-06

Pat Metheny, by his own admission, frequently has difficulty dreaming up titles for his tunes. He picked the right label when he signed for the numerologically obsessed ECM records. (This was, after all, the label that specially reserved catalogue number 500 for Jan Garabarek's 'Twelve Moons'.) '80/81' was simply a fortuitous coincidence of catalogue number and recording year.

'80/81' came after the 'New Chautauqua' and 'American Garage' albums, but before 'As Falls Wichita' and 'Offramp'. '80/81' was the first Metheny LP I bought which I wasn't entirely sure of. To a certain extent, it seemed an experiment. Apart from the unlistenable 'Song X', Pat hasn't featured saxophone in any of his subsequent recordings.

Pat's half of 'Two Folk Songs' is fairly bland strumming, but when Haden's composition kicks in, the track gets much more interesting. It has almost the rhythm of a cowboy western.

Another, more electronic version of 'The Bat' (track #3, disc 1 here) turns up on 'The Falcon and the Snowman' soundtrack. It's great to hear an all-acoustic rendition of this mournful piece. 'Open' sounds like one of those warm-up jazz improvisations that turned out well, but you need to be in the right mood to want to play it.

Whatever its faults elsewhere, the LP entirely redeemed itself on side 4, or on tracks 3 and 4 of CD #2. 'Every Day (I Thank You)' is a staggeringly beautiful and intricately composed piece. Whether or not it has any religious intent, here at least Pat came up with a fitting title.

Tracks:

Thema: Chorale St. Antoni
Variation I (Poco Piu Animato)
Variation II (Piu Vivace)
Variation III (Con Moto)
Variation IV (Andante Con Moto)
Variation V (Vivace)
Variation VI (Vivace)
Variation VII ( Grazioso)
Variation VIII (Presto Non Troppo)
Finale (Andante)
I: Un Poco Sostenuto - Allegro
II: Andante Sostenuto
III: Un Poco Allegretto E Grazioso
IV: Adagio - Piu Andante - Allegro Non Troppo Ma Con Brio

Tracks:

I: Allegro Non Troppo
II: Adagio Non Troppo
III: Allegretto Grazioso (Quasi Andantino) - Presto Ma Non Assai
IV: Allegro Con Spirito
I: Allegro Con Brio - Un Poco Sostenuto
II: Andante
III: Poco Allegretto
IV: Allegro - Un Poco Sostenuto

Tracks:

Academic Festival Overture Op. 80
Tragic Overture Op. 81
Alto Rhapsody Op. 53
I: Allegro Non Troppo
II: Andante Moderato
III: Allegro Giocoso - Poco Meno Presto
IV: Allegro Energico E Passionato - Piu Allegro

Customer Reviews:

no kidding.......2007-07-06

this IS the best brahms set in the market. honesly, as much as i love klemperer, i was pretty surprised by the amount of tension he managed to retain throughout this studio recording - something the greatest conductors often couldn't do.
To me, and i do not seem to be alone in this regard, the gem of the set is the fourth symphony. It is here that Klemperer simply out does Celibidache, Toscanini, and Furtwangler. The passacaglia is imbued with a sense of inevitability - i was completely taken aback by the impact of the climax. The relationship between the variations was so perfectly thought out that after this recording every other passacaglia seems inconsequential. Furtwangler might have imbued each passage with more fire, but even his profound insight is cursory compared to what Klemperer manages to convey.
Klemperer's supreme sense of architecture and drama also churns out an inimitable Academic Overture, which is also simply the most stunning and satisfying account I have ever heard. While in the beginning the orchestra might not seem completely synchronized, such misgivings are done away with by the time the last theme, the climax, is performed.
the rest are also similarly great, although owing the Furtwangler, Klemperer's first symphony doesn't top the rest of the competition like the other symphonies do.
there are a few records out there that i would call definitive - but this brahms set is the closest ever.

Not sure what all the fuss is about........2006-09-15

For me this set of Brahms is ho-hum. It is average, but nothing special. I feel the same way about Herbert von Kajaran's interpretation of Brahms. Brahms is without a doubt my favorite composer and I have heard many versions of his symphonies. For my tastes, the London Philharmonic's sound has always been too thin for Brahms. The only time I liked the London Philharmonic performing Brahms was Antal Dorati's set on Mercury Living Presence.
I prefer the rich and warm sound of the Berlin Philharmonic. The set of symphonies that Claudio Abbado released on DG in the 1990's has taken top honors for me. Most of the previous traversals with the Berliners (i.e. von Karajan) have taken the tempos too slow for my tastes.
As far as I'm concerned you can do much better elsewhere: Abbado, Szell, and Dorati - heck even Bruno Walter's set with the Columbia Symphony Orchestra is better than this presentation.

Five stars +.......2005-11-14

Klemperer is one of my favourites, probably because I got to know Mahler through him. For me this is the best Brahms symphonies cycle yet. The tempos are well judged as always and the Philharmonia at top form as always under Klemperer. I feel that the 4th is the gem of this cycle unsurpassed in every aspect. Along with the German Requiem again with Klempeper and the Philharmonia I find these CDs the best Brahms orchestral music on the market.

Karajan or Klemperer in Brahms?.......2005-09-29

Otto Klempeerer owes his late career in London and on EMI records to von Karajan. Since its founding in 1949, the Philharmonia Orch. was closely allied with Karajan, who built it up as his own career took off after the war. But when Furtwangler died in 1954 and his arch-rvial Karajan took over the Berlin Phil., the impressario of the Philharmonia, Walter Legge, knew that he neeeded a new stellar conductor or his orchestra would fail. He chose Klemperer, then almost forgotten and already past 65 when he made his initial appearances in London in 1951.

Legge's gamble paid off. Klemperer became the darling of London critics and audiences, and his performance style--measured, serious, with impeccable integrity--became the standard in Mozart, Beethoven, Wagner, and Brahms. He cared little for beauty of osund, smooth phrasing, or stylistic refinement. Words like "granitic" and "primordial" were used regularly.

Is he the antithesis of Karajan, who valued everything that Klemperer disdained? Listening to these Brahms symphony recordings in improved sound, I think the Klemperer vs. Karajan debate isn't all that valid. These four symphonies aren't granitic or primordial, nor are they particularly slow. In fact, the first movement of the Second moves lightly, as does the finale of the Fourth. If anything, Karajan's presentation is more massive and imposing in every symphony. The main difference begins with Klemperer's steady pace, which he tends to hold without allowing the phrase to be molded as flexibly as Karajan.

Karajan made two complete Brahms cycles for DG, the latter in digital sound. He was undoubtedly a great Brahms conductor, but so was Klemperer. Here the Philharmonia sounds sharp and alert and not very big in number, while Karajan's Berlin forces sound sumptuous and huge.

These two giants had no peer in Brahms from the death of Toscanini to the present day, excepting occasional recordings by Giulini, Bernstein, and perhaps in today's market, Harnoncourt. Some would also rank bruno Walter's two Brahms cycles at this exalted level, but for me only the mono one with the NY Phil., now available on a Sony import, qualifies, and besides the inadequate sonics, the orchestra does not play as beautifully as what we hear in this set. It's great to have Klemperer's classic set, which is totally free of eccentricity, back in such good sound. Five stars without a doubt.

My deserted island pick.......2005-06-20

If I had to go to that deserted island, I would be in doubt of which of these 3 CDs to take with me. I have perhaps 500 classical CDs, but this box stands out. I am not going to write very much, however: Brahms is my favourite composer. Brahms was Klemperer's favourite composer. His conducting is perfect all the way. These are so-called slow interpretations, i.e. compared to Toscanini and Walter, but not slow compared to, say Abbado; I think these tempos are perfectly suited to bring out the richness of the texture. The result I will describe as civilized, human, warm, even hot, dramatic, strictly to the point, even sharp, although there are sharper interpretations out there, but they don't got the same lyrical intensity as Klemperer's.

Average customer rating:

A jewel in my collection
Great Brahms Cycle From An Unexpected Place
The best Brahms for the best price!

Brahms: Symphonies Nos. 1-4

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005TNML
Release Date: 2002-05-07

Tracks:

Symphony No.1 In C Minor, Op.68: I. Un Poco Sostenuto - Allegro
Symphony No.1 In C Minor, Op.68: II. Andante Sostenuto
Symphony No.1 In C Minor, Op.68: III. Un Poco Allegretto E Grazioso
Symphony No.1 In C Minor, Op.68: IV. Adagio - Piu Andante - Allegro Non Troppo, Ma Con Brio
Academic Festival Overture, Op.80

Tracks:

Symphony No.2 In D Major, Op.73: I. Allegro Non Troppo
Symphony No.2 In D Major, Op.73: II. Adagio Non Troppo
Symphony No.2 In D Major, Op.73: III. Allegretto Grazioso (Quasi Andantino) - Presto Ma Non Troppo
Symphony No.2 In D Major, Op.73: IV. Allegro Con Spirito
Variations On A Theme By Haydn, Op.56a: Chorale (St. Antoni)
Variations On A Theme By Haydn, Op.56a: I. Poco Piu Animato
Variations On A Theme By Haydn, Op.56a: II. Piu Vivace
Variations On A Theme By Haydn, Op.56a: III. Con Moto
Variations On A Theme By Haydn, Op.56a: IV. Andante Con Moto
Variations On A Theme By Haydn, Op.56a: V. Vivace
Variations On A Theme By Haydn, Op.56a: VI. Vivace
Variations On A Theme By Haydn, Op.56a: VII. Grazioso
Variations On A Theme By Haydn, Op.56a: VIII. Presto Non Troppo
Variations On A Theme By Haydn, Op.56a: Finale

Tracks:

Symphonie No.3 In F Major, Op.90: I. Allegro Non Troppo
Symphonie No.3 In F Major, Op.90: II. Andante Moderato
Symphonie No.3 In F Major, Op.90: III. Allegro Giocoso
Symphonie No.3 In F Major, Op.90: IV. Allegro Energico E Passionato
Alto Rhapsody, Op.53 - Dunja Vejzovic

Tracks:

Symphony No.4 In E Minor, Op.98: I. Allegro Non Troppo
Symphony No.4 In E Minor, Op.98: II. Andante Moderato
Symphony No.4 In E Minor, Op.98: III. Allegro Giocoso
Symphony No.4 In E Minor, Op.98: IV. Allegro Energico E Passionato
Tragic Overture, Op.81

Customer Reviews:

A jewel in my collection.......2005-11-15

Brahms was the torchbearer of the First Viennese School, holding down tradition's fort in the face of the Liszt/Wagner music of the future. Despite his preference for Classical forms and structure, his temperament was unquestionably Romantic. Brahms resolved these seemingly opposite forces in his music, but realizing Brahms' vision in performance can be elusive. Among the symphony cycles, rarely has Brahms sounded so fully Classical and fully Romantic simultaneously than in this set.

The critical element in Eschenbach's readings is that they are somewhat slower than most, with tempi similar to those of Furtwangler's. This approach allows the thick orchestration to breathe, making it easier to appreciate Brahms' unrivaled mastery of musical architecture. Furthermore, it highlights his imagination while remaining within the confines of the traditional symphonic forms. For the slow movements, it fully showcases Brahms' lyricism that a faster tempo would have glossed over.

I did find the first movement of the Fourth to be a little slow, but it was still within the realm of reasonable interpretation. I'm sure it will grow on me as I listen more.

The inclusion of four add-ons is a nice bonus--most Brahms sets include only the Academic Festival and Tragic Overtures. No revelations here, but they are well performed.

Overall, an unbeatable value.

Great Brahms Cycle From An Unexpected Place.......2003-08-29

It's not all the time that it happens, but every once in a while, a symphonic cycle box set made by an orchestra that is not universally seen as a world-class outfit makes an impact. Such is the case here with this cycle of Brahms' four symphonies and various other works performed here by the Houston Symphony Orchestra under the leadership of Christoph Eschenbach, who served as Music Director from 1989 to 2001.

This Brahms cycle was made during the early 90s, and shows both Eschenbach and the Houston Symphony in top form. Eschenbach observes the first-movement exposition repeats of the first three symphonies, thus making their running times longer (the opening of No. 1 is almost nineteen minutes; that of No. 2 nearly twenty-two; and that of No. 3 over thirteen and a half), but the quality is never sacrificed. Dunja Vejzovic and the male voices of the Houston Symphony Chorus are excellent on the recording of Brahms' early choral work Alto Rhapsody; and the orchestra does good work on the Haydn Variations, the Academic Festival Overture, and the highly charged Tragic Overture.

Given all of this, it is bewildering that it has only been in recent times that the Houston Symphony has achieved the respect it has long deserved. After all, many big names had stood on the podium before Eschenbach: Beecham, Stokowski, Barbirolli, and Previn. But Eschenbach seemed to break through the orchestra board's long-time ultra-conservative musical mentality, and thus he elevated the Houston Symphony to world-class status. The proof can be found in this superbly recorded and superbly priced Brahms set, which is well worth seeking out.

The best Brahms for the best price!.......2002-09-23

When I saw this inexpensive 4cd box set, I knew that I had to get it, especially after hearing Eschenbach's recording of Bruckner's 6th w/Houston SO (the best ever btw). Some conductors (eg. Karajan) try to take you into different worlds in the different symphonies. However Eschenbach takes you to different places withnin the same world, giving the listener a more organic-whole musical listening experience. The rhythms are sharp, the readings are dark (Brahms was a hard-core loner) and intense. The opening of the first sym. reminds me of Klemperer, so deep and powerful. The stings are flawless and full of support. When one looks at set prices like Abbado's...the eschenbach set is one of the best Brahms bargain sets of all time. The filler pieces are equally strong, as are the singers in the alto rhap. A must have for all Brahmsians!!

Average customer rating:

A superb Haydn benchmark
Perfect Dinner Music
Delightful Background Music
He truly is the father of string quartets!
A matter of taste?

Haydn: Complete String Quartets
Angeles String Quartet
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000501PC
Release Date: 2001-05-22

Tracks:

Str Qt in E flat, Op.0: I. Presto
Str Qt in E flat, Op.0: II. Menuetto
Str Qt in E flat, Op.0: III. Adagio
Str Qt in E flat, Op.0: IV. Menuetto
Str Qt in E flat, Op.0: V. Finale: Presto
Str Qt in B flat, Op.1 No.1: I. Presto
Str Qt in B flat, Op.1 No.1: II. Menuetto
Str Qt in B flat, Op.1 No.1: III. Adagio
Str Qt in B flat, Op.1 No.1: IV. Menuetto
Str Qt in B flat, Op.1 No.1: V. Presto
Str Qt in E flat, Op.1 No.2: I. Allegro
Str Qt in E flat, Op.1 No.2: II. Menuetto
Str Qt in E flat, Op.1 No.2: III. Adagio
Str Qt in E flat, Op.1 No.2: IV. Menuetto
Str Qt in E flat, Op.1 No.2: V. Presto
Str Qt in D, Op.1 No.3: I. Adagio
Str Qt in D, Op.1 No.3: II. Menuetto
Str Qt in D, Op.1 No.3: III. Presto
Str Qt in D, Op.1 No.3: IV. Menuetto
Str Qt in D, Op.1 No.3: V. Finale: Presto

Tracks:

Str Qt in G, Op.1 No.4: I. Presto
Str Qt in G, Op.1 No.4: II. Menuetto
Str Qt in G, Op.1 No.4: III. Adagio Ma Non Tanto
Str Qt in G, Op.1 No.4: IV. Menuetto
Str Qt in G, Op.1 No.4: V. Presto
Str Qt in C, Op.1 No.6: I. Presto Assai
Str Qt in C, Op.1 No.6: II. Menuetto
Str Qt in C, Op.1 No.6: III. Adagio
Str Qt in C, Op.1 No.6: IV. Menuetto
Str Qt in C, Op.1 No.6: V. Finale: Presto
Str Qt in A, Op.2 No.1: I. Allegro
Str Qt in A, Op.2 No.1: II. Menuetto
Str Qt in A, Op.2 No.1: III. Adagio
Str Qt in A, Op.2 No.1: IV. Menuetto
Str Qt in A, Op.2 No.1: V. Allegro Molto

Tracks:

Str Qt in E, Op.2 No.2: I. Allegro Molto
Str Qt in E, Op.2 No.2: II. Menuetto
Str Qt in E, Op.2 No.2: III. Adagio
Str Qt in E, Op.2 No.2: IV. Menuetto
Str Qt in E, Op.2 No.2: V. Finale: Presto
Str Qt in F, Op.2 No.4: I. Presto
Str Qt in F, Op.2 No.4: II. Menuetto
Str Qt in F, Op.2 No.4: III. Adagio
Str Qt in F, Op.2 No.4: IV Menuetto: Allegretto
Str Qt in F, Op.2 No.4: V. Allegro
Str Qt in B flat, Op.2 No.6: I. Adagio
Str Qt in B flat, Op.2 No.6: II. Menuetto
Str Qt in B flat, Op.2 No.6: III. Presto: Scherzo
Str Qt in B flat, Op.2 No.6: IV. Menuetto
Str Qt in B flat, Op.2 No.6: V. Presto

Tracks:

Str Qt in C, Op.9 No.1: I. Moderato
Str Qt in C, Op.9 No.1: II. Menuetto: Un Poco Allegretto
Str Qt in C, Op.9 No.1: III. Adagio
Str Qt in C, Op.9 No.1: IV. Finale: Presto
Str Qt in E flat, Op.9 No.2: I. Moderato
Str Qt in E flat, Op.9 No.2: II. Menuetto
Str Qt in E flat, Op.9 No.2: III. Adagio
Str Qt in E flat, Op.9 No.2: IV. Finale: Allegro Molto
Str Qt in G, Op.9 No.3: I. Allegro Moderato
Str Qt in G, Op.9 No.3: II. Menuetto
Str Qt in G, Op.9 No.3: III. Largo
Str Qt in G, Op.9 No.3: IV. Finale: Presto
Str Qt in d, Op.9 No.4: I. Moderato
Str Qt in d, Op.9 No.4: II. Menuetto
Str Qt in d, Op.9 No.4: III. Adagio Cantabile
Str Qt in d, Op.9 No.4: IV. Finale: Presto

Tracks:

Str Qt in B flat, Op.9 No.5: I. Poco Adagio: Theme And Vars
Str Qt in B flat, Op.9 No.5: II. Menuet: Allegretto
Str Qt in B flat, Op.9 No.5: III. Largo Cantabile
Str Qt in B flat, Op.9 No.5: IV. Finale: Presto
Str Qt in A, Op.9 No.6: I. Presto
Str Qt in A, Op.9 No.6: II. Menuetto
Str Qt in A, Op.9 No.6: III. Adagio
Str Qt in A, Op.9 No.6: IV. Finale: Presto
Str Qt in E, Op.17 No.1: I. Moderato
Str Qt in E, Op.17 No.1: II. Menuet
Str Qt in E, Op.17 No.1: III. Adagio
Str Qt in E, Op.17 No.1: IV. Finale: Presto
Str Qt in F, Op.17 No.2: I. Moderato
Str Qt in F, Op.17 No.2: II. Menuet: Poco Allegretto
Str Qt in F, Op.17 No.2: III. Adagio
Str Qt in F, Op.17 No.2: IV. Finale: Allegro Di Molto

Tracks:

Str Qt in E flat, Op.17 No.3: I. Andante Grazioso
Str Qt in E flat, Op.17 No.3: II. Menuet: Allegretto
Str Qt in E flat, Op.17 No.3: III. Adagio
Str Qt in E flat, Op.17 No.3: IV. Allegro Di Molto
Str Qt in c, Op.17 No.4: I. Moderato
Str Qt in c, Op.17 No.4: II. Menuet: Allegretto
Str Qt in c, Op.17 No.4: III. Adagio Cantabile
Str Qt in c, Op.17 No.4: IV. Finale: Allegro
Str Qt in G, Op.17 No.5: I. Moderato
Str Qt in G, Op.17 No.5: II. Menuet: Allegretto
Str Qt in G, Op.17 No.5: III. Adagio
Str Qt in G, Op.17 No.5: IV. Finale: Presto
Str Qt in D, Op.17 No.6: I. Presto
Str Qt in D, Op.17 No.6: II. Menuet
Str Qt in D, Op.17 No.6: III. Largo
Str Qt in D, Op.17 No.6: IV. Finale: Allegro

Tracks:

Str Qt in E flat, Op.20 No.1: I. Allegro Moderato
Str Qt in E flat, Op.20 No.1: II. Menuet: Un Poco Allegretto
Str Qt in E flat, Op.20 No.1: III. Affettuoso E Sostenuto
Str Qt in E flat, Op.20 No.1: IV. Finale: Presto
Str Qt in C, Op.20 No.2: I. Moderato
Str Qt in C, Op.20 No.2: II. Capriccio: Adagio
Str Qt in C, Op.20 No.2: III. Menuet: Allegretto
Str Qt in C, Op.20 No.2: IV. Fuga A Quattro Soggeti: Allegro
Str Qt in g, Op.20 No.3: I. Allegro Con Spirito
Str Qt in g, Op.20 No.3: II. Menuet: Allegretto
Str Qt in g, Op.20 No.3: III. Poco Adagio
Str Qt in g, Op.20 No.3: IV. Allegro Di Molto

Tracks:

Str Qt in D, Op.20 No.4: I. Allegro Di Molto
Str Qt in D, Op.20 No.4: II. Un Poco Adagio E Affettuoso
Str Qt in D, Op.20 No.4: II. Menuet Alla Zingarese
Str Qt in D, Op.20 No.4: IV. Presto E Scherzando
Str Qt in f, Op.20 No.5: I. Moderato
Str Qt in f, Op.20 No.5: II. Menuet
Str Qt in f, Op.20 No.5: III. Adagio
Str Qt in f, Op.20 No.5: IV. Fuga A Due Soggetti
Str Qt in A, Op.20 No.6: I. Allegro Di Molto E Scherzando
Str Qt in A, Op.20 No.6: II. Adagio
Str Qt in A, Op.20 No.6: III. Menuetto
Str Qt in A, Op.20 No.6: IV. Fuga A Tre Soggetti: Allegro

Tracks:

Str Qt in b, Op.33 No.1: I. Allegro Moderato
Str Qt in b, Op.33 No.1: II. Scherzo: Allegro
Str Qt in b, Op.33 No.1: III. Andante
Str Qt in b, Op.33 No.1: IV. Presto
Str Qt in E flat, Op.33 No.2 'The Joke': I. Allegro Moderato, Cantabile
Str Qt in E flat, Op.33 No.2 'The Joke': II. Scherzo: Allegro
Str Qt in E flat, Op.33 No.2 'The Joke': III. Largo Sostenuto
Str Qt in E flat, Op.33 No.2 'The Joke': IV. Finale: Presto
Str Qt in C, Op.33 No.3 'The Bird': I. Allegro Moderato
Str Qt in C, Op.33 No.3 'The Bird': II. Scherzo: Allegretto
Str Qt in C, Op.33 No.3 'The Bird': III. Adagio
Str Qt in C, Op.33 No.3 'The Bird': IV. Rondo: Presto

Tracks:

Str Qt in B flat, Op.33 No.4: I. Allegro Moderato
Str Qt in B flat, Op.33 No.4: II. Scherzo: Allegretto
Str Qt in B flat, Op.33 No.4: III. Largo
Str Qt in B flat, Op.33 No.4: IV. Presto
Str Qt in G, Op.33 No.5: I. Vivace Assai
Str Qt in G, Op.33 No.5: II. Largo E Cantabile
Str Qt in G, Op.33 No.5: III. Scherzo: Allegro
Str Qt in G, Op.33 No.5: IV. Finale: Allegretto
Str Qt in D, Op.33 No.6: I. Vivace Assai
Str Qt in D, Op.33 No.6: II. Andante
Str Qt in D, Op.33 No.6: III. Scherzo: Allegretto
Str Qt in D, Op.33 No.6: IV. Finale: Allegretto
Str Qt in d, Op.42: I. Andante Ed Innocentemente
Str Qt in d, Op.42: II. Menuet
Str Qt in d, Op.42: III. Adagio E Cantabile
Str Qt in d, Op.42: IV. Finale: Presto

Tracks:

Str Qt in B flat, Op.50 No.1: I. Allegro
Str Qt in B flat, Op.50 No.1: II. Adagio Non Lento
Str Qt in B flat, Op.50 No.1: III. Poco Allegretto
Str Qt in B flat, Op.50 No.1: IV. Finale: Vivace
Str Qt in C, Op.50 No.2: I. Vivace
Str Qt in C, Op.50 No.2: II. Adagio Cantabile
Str Qt in C, Op.50 No.2: III. Menuetto: Allegretto
Str Qt in C, Op.50 No.2: IV. Finale: Vivace Assai
Str Qt in E flat, Op.50 No.3: I. Allegro Con Brio
Str Qt in E flat, Op.50 No.3: II. Andante Piu Tosto Allegretto
Str Qt in E flat, Op.50 No.3: III. Menuetto: Allegretto
Str Qt in E flat, Op.50 No.3: IV. Finale: Presto

Tracks:

Str Qt in f#, Op.50 No.4: I. Allegro Spirito
Str Qt in f#, Op.50 No.4: II. Andante
Str Qt in f#, Op.50 No.4: III. Menuetto
Str Qt in f#, Op.50 No.4: IV. Fuga: Allegro Moderato
Str Qt in F, Op.50 No.5: I. Allegro Moderato
Str Qt in F, Op.50 No.5: II. Poco Adagio
Str Qt in F, Op.50 No.5: III. Menuetto
Str Qt in F, Op.50 No.5: IV. Finale: Vivace
Str Qt in D, Op.50 No.6 'The Frog': I. Allegro
Str Qt in D, Op.50 No.6 'The Frog': II. Poco Adagio
Str Qt in D, Op.50 No.6 'The Frog': III. Menuetto: Allegretto
Str Qt in D, Op.50 No.6 'The Frog': IV. Finale: Allegro Con Spirito

Tracks:

Str Qt inG, Op.54 No.1: I. Vivace Assai
Str Qt inG, Op.54 No.1: II. Allegretto
Str Qt inG, Op.54 No.1: III. Menuet
Str Qt inG, Op.54 No.1: IV. Vivace
Str Qt in C, Op.54 No.2: I. Vivace
Str Qt in C, Op.54 No.2: II. Adagio -
Str Qt in C, Op.54 No.2: III. Menuetto: Allegretto
Str Qt in C, Op.54 No.2: IV. Adagio
Str Qt in E, Op.54 No.3: I. Allegretto
Str Qt in E, Op.54 No.3: II. Largo
Str Qt in E, Op.54 No.3: III. Menuetto: Allegretto
Str Qt in E, Op.54 No.3: IV. Finale: Presto

Tracks:

Str Qt in A, Op.55 No.1: I. Allegro
Str Qt in A, Op.55 No.1: II. Adagio Cantabile
Str Qt in A, Op.55 No.1: III. Menuet
Str Qt in A, Op.55 No.1: IV. Finale: Vivace
Str Qt in f, Op.55 No.2 'The Razor': I. Andante
Str Qt in f, Op.55 No.2 'The Razor': II. Allegro
Str Qt in f, Op.55 No.2 'The Razor': III. Menuetto: Allegretto
Str Qt in f, Op.55 No.2 'The Razor': IV. Presto
Str Qt in B flat, Op.55 No.3: I. Vivace Assai
Str Qt in B flat, Op.55 No.3: II. Adagio Ma Non Troppo
Str Qt in B flat, Op.55 No.3: III. Menuetto
Str Qt in B flat, Op.55 No.3: IV. Presto

Tracks:

Str Qt in C, Op.64 No.1: I. Allegro Moderato
Str Qt in C, Op.64 No.1: II. Menuet: Allegro Ma Non Troppo
Str Qt in C, Op.64 No.1: III. Allegretto Scherzando
Str Qt in C, Op.64 No.1: IV. Finale: Presto
Str Qt in b, Op.64 No.3: I. Allegro Spirito
Str Qt in b, Op.64 No.3: II. Adagio Ma Non Troppo
Str Qt in b, Op.64 No.3: III. Menuet: Allegretto -

Amazon.com's Best of 2001

A massive set--67 string quartets on 21 discs in a budget-priced, shelf-friendly, compact box. So the obvious question is: do you need it? The equally obvious answer is a resounding "yes" if you love these endlessly inventive quartets and if you appreciate superbly played performances that capture both the letter and the spirit of Haydn's genius. The Angeles String Quartet isn't as well known as some ensembles that have recorded complete Haydn sets, but they are superior to all, with the arguable exception of the Tatrai Quartet. They demonstrate technical polish and rich, warm sound that's never cloying. And they give these works the forward-moving impetus they need within a classical framework, eschewing both anachronistic Romanticism and the mechanical astringency of period specialists.

The Angeles Quartet is unique in its mastery of early as well as late works, in tune with Haydn's stylistic development and sensitive to the attractions of each of these remarkable pieces. So they infuse the visionary slow movements of the late quartets with the appropriate depth and at the same time revel in the muscularity of the Opus 76 No.2's catchy Menuetto, the humor of the "Joke" Quartet, Opus 33 No.2, and the power of the Allegro con spirito of Opus 76 No.1. Most impressive is their way with the early quartets--no small matter when you consider that the contents of the first six discs precede the Opus 20 set generally considered as signaling the maturity of the form. The Angeles make even the earliest quartets, five-movement divertimentos for four strings, a habit-forming delight. Their playing here is full of exuberance, wittily playful and rough, peasantlike by turns. The sonics are outstanding, too, well-balanced, warm, and lifelike. An indispensable recording. --Dan Davis

Customer Reviews:

A superb Haydn benchmark.......2007-06-28

It takes a lot of time to grasp Haydn's music, because there's much of everything: symphonies, piano sonatas, operas, piano trios, string quartets, choral works, songs, etc. - in sum, more than one thousand individual works. It will probably take more than a year listening to it all, and comprehend it as well (i.e., not as "background music"). Few, if any person, can have a complete grasp of everything he wrote.

But there are nonetheless good reasons trying to grasp Haydn's music, at least partly. This bargain set - 68 string quartets on 21 CDs - is a perfectly good reason. Haydn's string quartets contain some of his finest music. And the present recordings with Angeles Quartet are simply superb. Unlike many period instrument performers, Angeles Quartet avoids meticulous mannerism and plays this music with energy and passion, without loosing structural control. Furthermore, the recordings are excellent, with a rich, creamy and spacious sound. In short, great performances and excellent engineering. A benchmark recording, no less.

There are some rival complete sets: Aeolian Quartet (Decca), Festetics Quartet (period instrument performances, Arcana), Tátrai (Hungaroton), and Kodaly Quartet (Naxos). In terms of sound, the present set is clearly preferable. In terms of performances, the only serious rival is Tátrai Quartet's classic collection from the sixties. But Angeles Quartet is not a second choice. If you hesitate, you need both. Budget and shelf space minded collectors need not hesitate.

Perfect Dinner Music.......2007-05-14

Some might be offended at the idea that music be played in the background to accompany a fine meal, but in fact most of us listen to music in the background. This entire set of 15-CDs is (to my ears) the perfect music to accompany a delicious meal with someone you love. I have owned this CD set for years and never tire of it.

I have found that after listening to it hundreds of times that using iTunes in shuffle mode keeps it fresh.

Delightful Background Music.......2006-03-04

This music is a great buy, and wonderful to listen to while doing desk work or reading.

The Angeles String Quartet does an excellent job, and all of the works are so tuneful that I frequently found myself walking around the house humming the tunes after hearing a quartet for the first time.

He truly is the father of string quartets!.......2005-09-27

This may not be true as far as the instrumentation is concerned, but Haydn is one of the first to explore them as more than a solo violin with a trio accompaniment (second violin, viola and cello), thus giving the chamber music a new dimension.

If you've already explored Haydn's universe through some of his glorious symphonies, these string quartets are an excellent way of further expanding your appreciation of Haydn's music. There are very few dull moments in this lot (and almost all of them are to be found in his early quartets, while there are a few in his very latest works, where he seems to have lost the energy and brio that had established him as one of the best composers of his time). His first works have five movements and ressemble the divertimenti or serenatas. Later on, his quartets took a form which was to become standard, both for Haydn and other composers: four movements - a fast one, a slow one, a minuet and trio and a fast finale.

If one listens to Haydn's string quartes in chronological order, one can feel and appreciate his growth and maturity as a composer. The motives introduced during the first movement are developed over the entire work entity, the increasing use of first movements that are monothematic, the expansion of harmonic usage, the combination of serious with funny, intellectual with ridicule, etc.

Both Mozart and Beethoven wrote famous series of string quartets, but I've always liked Haydn's quartets the most. My personal favorites are op. 76 (especially no 3, which later on became the German National Anthem), op. 64 (especially no 5 called "The lark") and op. 33 (where Haydn introduced special effects, like a birdcall, which gave the third quartet its name).

A matter of taste?.......2005-05-31

It is something unpleasant about the sound here; it is resonant, yes, but not like the Takacs quartet. Comparing to the Takacs' take on op.76/1, 2 & 3, which I love, the Angeles' makes me think of a grey substance, sterile, antiseptic, of no life. Is it the sound quality? Or is it the way the quartet is playing? I think the latter, but it is difficult to figure out what is wrong; in fact I don't find any serious miscalculations. The problem is that the playing feels calculated; it is some kind of contrived perfection, it all feels too concious; I feel something wrong about the accent, the stress of the phrasings... but I give up: Suffice it to say that I regret I bought this collection of boring performances. Three stars for professional playing. If you like some human touch, go for the Aeolian quartet, less perfection, more life.

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